Hello Ravi, you play both Tivra Ma and pa with your first finger, as the notes are close together. Re: Bhairavi, , the fingering sequence is Sa (Open), re (first finger), ga (second finger) Ma (Open) Pa (first finger) dha (first finger) ni (second finger), Sa (second finger). The idea is to use the same finger for notes which are close together. Hope this helps.
Rahul

thank u very much sir. will keep troubling u fr small small things. also please communicate when visiting india. will very much like to meet u. could u also tell me some paltas(in addition to those given in the book) so that the fingers can move real fast. also kindly nominate a source(online) for learning a few basic raagas as i am the type that has to verbally learn first and then translate it on to the sarod. pls help.

Hello Ravi, will let you know my India plans on my next trip. I typically go to Delhi, Varanasi and Kolkata. Re: Paltas, speed develops over time, so give it a few months of regular practice. The book covers pretty much all the paltas you would need on the sarod. Re: Raga source, please try the Sangeet Research Academy’s website – they have a section called “Know your Raga” which is useful.

HELLO SIR. AGAIN GETTING INTO A FIX WITH FINGERING IN CASE OF MALKAUNS. SINCE LOWER DHA KOMAL AND NI KOMAL ARE FREQUENTLY USED, IT IS ONLY NATURAL THAT 1ST AND 2ND FINGERS BE USED FOR DHA AND NI RESPECTIVELY. HOWEVER WHEN IT COMES TO GA KOMAL 2ND FINEGR AUTOMATICALLY COMES INTO PLAY AND THUS ALSO FOR DHA(ON THE MA STRING) WHICH MEANS 2ND FINGER PREDOMINATES IN THIS RAAGA. KINDLY PROVIDE THE FINGERING FOR THIS RAAGA.
REGARDS.

Hello Ravi
Malkauns fingering is as follows:
Pa String: Lower Dha – 1st finger, Lower Ni – Second finger
Sa String: Ga – 1st finger
Ma String: Dha – 1st finger, Ni, Sa – 2nd finger.
What are you trying to play? I can record a video of that so you can see the fingering in detail. Regards, Rahul

sir. regards. i am oscillating between raag durga and raag malkauns. i already have your rendition of durga. please explain malkauns so that i can play this raag. it is such a melodious raag. it is actually a dream in itself. kindly provide this video. more importantly, give me some taans to practice in this raag. i have heard and seen ustad Amjad Ali Khan saab’s rendition but i find it a tad difficult.
thanx a ton.

This is in response to Rupinder’s reuqset for an explanation of Ustad Amir Khan’s Aiman bandish.Amir Khan saheb sings the first two lines of an Amir Khusrau ruba’ee (quatrain). I would to say that the language is modern Persian, in linguistic terms, so there is no problem of understandability.shaahaa ze karam bar man e darwesh negarbar haal e man e khasta o del resh negartranslation:O King, look with favour upon me who is destitute-regard my state of weariness and wounded heartUnfortunately, Khan saheb has not sung the last two lines of the ruba’yee so the full sense of the poem is left incomplete.